Everyone has that one song they go to for a reflection of their innermost feelings.
Mine is Esmerelda by Ben Howard, the video in particular.
The waves unrolling back in reverse is what gets me every time. It may be for the symbolic value of rolling back time and rediscovering today’s desires by the method of review.
The moving images are taken in the winter, the British winter many complain of. As a surfer, Ben Howard is staring at the swells as he would have done at any other season, reflecting on the conditions, the possibilities. The weather is not a hindrance, but an opportunity for assessment. A million components pulled together; I could ride that wave, I know I can, I can do it this way or that way. Maybe I will come back to it, maybe I will sit it out, watch it and leave it to perform before my very eyes.
The solitary imagery of Howard looking out from the cliff’s edge over the treacherous weather, is a message of renewal. Emerged from the knowledge that majestic moments happen in the most apparent challenging conditions. Our method and approach is the liberating experience emerging from what is on offer. A source and direction of energy that pulls the surfer to float on the surface is also defined by the surfer’s point of letting go and diving into the water when conditions become too much. These are not polarised experiences of bad or good, of success or failure, but of a journey of becoming one with nature, embracing it and re-establishing our relationship with it as our home.
Theorists have made the case for connecting with our histories in our pursue of conserving our natural habitat. Mythologies of Homer’s Odysseus seeking his Ithaca, and the realism of Caribbean slaves fishing out in the open waters on Atlantic Ocean’s edge have required an intertwined interdependent relationship with nature and its elements. The thousands of Syrian refugees drowned in the Mediterranean Sea escaping conflict. The skill of ‘reading’ nature and floating decisions under different communication needs, on the nexus with the changing elements, is part of the human condition that can not be aborted.
There are thousands of individual journeys to Ithaca, Caribbean fishermen and surfers connecting with nature in that way. The sea is a pool for everyone to explore their search for a home.
It’s been three months since my last overseas trip and in the past weeks, I’ve been considering where my next escape will take me to.
The options on the list are between a couple of towns in Europe, east and westcoast US, Africa and South-East Asia.
Sorting through the checklist of where to prioritise includes the outdoorsy options for the time of the year, ie hikes, coastal walks, swimming/surfing etc, the people I know there including how important they have been in my life recently (it’s always sweet connecting with loved ones), the local culture, will it enlighten me and challenge me in positive ways?
I no longer use Airbnb, for political reasons as much as having encountered some very troubled individuals whilst hosting and being hosted by. For example in the US, from around 8, but two hosts were recovering from drug addiction, violent breakups and required attention from me that the experience and after taste did not justify the price I paid for (energetically and materially). With all due respect, everyone deserves happiness and to make some extra cash but air BnB is a problematic option for those seeking short term solutions as it distracts from the bigger picture. It only works when everything else is running well ie having a high income anyway, and meaningful interactions with neighbours and society as a whole. And it worked well for me when I was on that vibe, hosting. However, when it is not, either hosts or hostees can end up being dragged into someone else’s story whilst travelling and paying to stay at their home, which is not a price worth it. Symbolically, the best two Airbnb stays were in Portland up on the hill surrounded by greenness, before being dragged into another drama situ afterwards linked to hosts’ troubled present, and on my last stay in Seattle, in a beautiful attic to the sound of, funnily, death metal from my host’s son. Both stays were hosted by people who presented clarity in their intention to stay out of my way, had everything set up and in order for my arrival and appeared to not exhibit controlling or overly self-absorbed behaviours during my staying there. After all, as they say, first impressions matter.
So moving on, since I returned to London in August, I have hiked a couple of times in the South East of England, went to the forest, for walks through the parks, by the river, long cycles and with a fare treat burning in my pocket, I am laying out my options for the new upcoming routes.
I believe the best way to do travel is combining the freedom to roam new places for some of the trips and seeing friends and loved ones in combination for other, and of course as a route to self-evaluating where you are at in relation to your home and your views on the workings of society. This should provide you with a baseline of choices on your next steps and aspirations.
So maybe this winter will see me in warmer places, and the early spring somewhere with lots of snow. I have been going to the Arctic for two years now early in the year and craving the purity of the landscape, the escapism of the feeling of being at the end of the earth. I will be returning to the US too to visit friends that now live there for hikes, cafes and coastal walks. My other plans include culture-rich towns and cities, with art being central to the scene.
I think the fundamental aspect of travelling, is living every day’s moment, today. To find the time to make space for solitude, a place where you meet yourself, re-evaluate, focus so you can recharge before you rejoin the updated version of your world again.
More reviews and experiences coming up in the next few months.
So you know how things go. You are flowing by with studies, work, friendships, relationships when something new gets introduced to your routine. It starts as an off beat recommendation, and whilst you’re not doing anything else that’s specifically central or significant in your life, you join in on the flow of this new thing in life.
Then weeks go by and despite hesitations because of other well established patterns in your life, you find yourself making more space for this new thing. Then you need to sense check, so you pull away, dismiss it, and there it goes it pops up again seeking your attention.
So you start thinking, what to do. Time invested means previous patterns are being challenged, smoked out, and you’re still unsure if it’s a fluke or will stick around for a while. And then more time goes by and it is still there. Sometimes it feels annoying, tiring, unbalanced, but you realise like with most things settling into a new job, relationship, friendship, hobby is an ongoing process of exploration.
And then the penny drops; your commitment to keep exploring is the juice of life, and as long as you don’t get stuck in a tunnel vision, the scheme of things will keep on evolving and merging with who you’ve become.
This presentation was produced by Athina Fokidou for the MSc Security class (combined) at the School of Oriental and African Studies, University of London, 2018.
The Case study is the destruction of the Dawlish seafront railway in the South West coast of the United Kingdom by climatic events and the consequent political battlefield of unmet promises.
The objective of the presentation is to raise awareness of the players in responses to climate, their intentions and unknown coercive strategies in the nexus of the state and individual contractual exchange.
The past few weeks have seen historical levels of political unwill in the US and UK.
Despite the repetitive votes in the parliament on Brexit options, across the pond, considerations over at which level the business interests of the President are conflicting with responsibilities in the public office, have been held back by senior Democrats.
Not very unlike the Labour leader’s opposition to the EU, and dislike the Tories are in the driving seat of the negotiations, with Theresa May being traditionally pro-EU – a clarity of parliamentarian’s will, is anything but a clear cut between for and anti-Brexit voices.
The confusion in UK and US is the re-divergence of the drivers behind people’s voting preferences. Traditional politics, that of the left and the right, have hegemonized to the extent of other areas of connectivity between political preferences has emerged.
Some may think the opinion Brexit will never happen and that Trump will not see through a second term, is premature today. Rightly the politics are still shedding old skin and testing new voices. Traditional far rightism may see some rise or tv coverage however in temporality, people seek new ideas, often held by the young.
Unquestionably it is a unique time in history to live and experience the shifts, twists, and stretches. Yet the presence of Extinction Rebellion and Young People’s Climate Strikes over the past few weeks have an 80’s tone, the global problems are ours and they are ignored by politicians continuing the pursuit of fast results and short term solutions. In the background, seals are dropping off to their death from cliffs in the Arctic they have not had to climb before when the ice area was 40% larger than it is today.
The tide is certainly changing, and we are running out of those in ye olde politics – inevitably will need to work together, for their own survival.
From the Contemporary Art in the Global (MSc School of Oriental and African Studies)
Artists: Derek Walcott, Mark Rothko, Frank Bowling, Atsuho Tanaka, Sammi Baloji
The project visits the theme of darkness as it is approached by the selected artists through painting, poetry, installation art and photography. Dark times have for centuries been associated with the Dark Ages, the victorian times, the plague, III Reich, and the Crusades. Is darkness created in the name of God to entice a journey in reflection?
Darkness in this exhibition will be visited through the artists’ own periods and reflections of darkness. Starting with the more recent Baloji’s photographs have a strong post-environmental sentiment, yet all artists reflect on humanity’s over-consuming framework of aimless societal misappropriations maintained by irrelevance.
The artworks date from post-war period, aligned with the more recent works of Baloji’s diptych, for the provision of a bridging point on perpetual concerns about the loss of communities, citizenship and human rights that have been exaggerated, yet feel less visual, for the absence of blood.
The art on show reflects as much today, as they did at the time of making, that we are entering an autumn of social conscience exasperated by the informality and misappropriation of technology coercing the psyches onto a temporal loss and inaction.
Yet there must be resistance. Art is also a mirror up to the society, ourselves, in hope each individual visiting this exhibition will reflect a little and make a small step of resistance that translates into a big change.
When we don’t speak, we maintain darkness. Northwest indigenous communities have talked of ‘silence’ as a skill. ‘Silence’ used in diplomacy can present a show of arrogance or absence as in demonstration against what I’d said. Against that theory, words presented hide the things that happen in silence, including their potential to tell a different story.
Bringing artworks made by Rothko, Bowling, Tanaka, Walcott, and Baloji together distinctively plays to the audience responses, being of equal therapeutic importance as they were to the artists at the time of making. The five artworks have incredible ‘enlightening’ power’, offering a quiet introspective space for soul searching.
We would like visitors to individual notice which one artwork they are drawn to on their individual experiential pattern route, free from want and free from fear.
Rothko “Silence is so accurate.”
Yellow and orange make green; green the colour signifying life, renewal, growth, fertility, harmony, nature, freshness, energy, and safety. Rothko never wanted association with any art movement however he was pigeonholed as an abstract expressionist. The simplicity of Orange and Yellow cannot go without noting the technical challenge of keeping the colours separate so they don’t produce green. Is the artist pointing out that we are in the process of exploring our spirituality, and have not reached a harmonious existence yet?
A quest for ascension, Orange and Yellow has a ritualistic quality to the universe framed within the shuttle golden Buddhist orange outline. His work has often been described for its meditative qualities whilst remaining large, and non representational.
Barney Newman, the man inspired title of Frank Bowling’s work in the exhibition, saw himself as a political artist who has also shown his work outside Rothko’s Chapel in Houston, Texas.
The painting is another major African flag colour representation Bowling is known for. Bowling is of Guyanese descent, a descendant of a slave, still surrounded by racism and race assumptions with participation in the First World Festival of Negro Arts, whilst being the first black artist elected in the Royal Academy of Arts with the artist recently receiving an OBE, continuing the colonial mode of tradition. His work was also shown at Afro Modern exhibition at Tate Liverpool in 2010’s, for significance the port of Liverpool having hosted the largest number of slave trade shipments in England.
The question is does Bowling rebel or commercialise further the idea of Africa in a place of exoticism and colonial frames? ‘Who’s afraid of Barney Newman’ was made in 1968, placed two years after the Guyanese independence from the British. Was Bowling raising awareness at a time when slave trade destinations were gaining independence from colonial rule?
Atsuko Tanaka had one said “I wanted to shatter stable beauty with my work,” highlighting how domestic objects are but beautiful and disruptive from the lack of presence, yet plethora of being.
Tanaka’s silence covered by the bulbs in the original artwork, from a position of an emerging arts movement, could have represented silence as an imposition for a projection of power. In international relations frameworks, silence is mostly imposed by psychological violence, affecting the corporal of the most vulnerable, women, people of colour and those not integrated in the functionality of post Colonialism, and neoliberalism in the global and constitute political discourses and practice. (Dingli, Bhambra and Shilliam, 2009)
Undoubtedly there is a pause in Walcott’s ‘Love after Love’ poem. Who inspired the poet to write this? Is it advice, or as I have always read this, as a love poem to oneself?
Derek Walcott passed away two years ago and his sea breeze of poetry is a timeless reminder to leave the insecurities we all carry, behind, and just be.
The meditative quality in the thought of spending time with oneself is not unlike Rothko’s iconographical ‘Orange and Yellow’.
Does it really matter who’s heart is broken or who broke whose heart? If anything, the world would become a better place if each and everyone reflected on the poem a little every day. After all, through love there’s light and the light lost in things that don’t work, is light lost.
Stylistically ethnographical, the photographer has removed the orientalism and exoticism of indigenous communities, removed the smiles and colours and yellow grey toned the landscape, to represent Congolese as the Congolese see themselves. In this diptych he has interestingly kept women seperate to men. He plays with the Primitivist Theory of the artist as an ethnographer, whilst placing it in a contemporary context.
Image from eu.art.com
Rothko’s goal was “the elimination of all obstacles between the painter and the idea, and between the idea and the observer.” Rothko was known to suffer depression, reflected by the frame as a limit to happiness. Rothko was Latvian and Russian who went to primary and high school in Portland, Oregon – the ‘weird’ US city because of its rebel inquisitive population. His work invites the viewer to explore ‘metaphysical realities of their own consciousness’. The red a reflection emotional forces fighting nature a sea of blood at sunset, framed in limitation, stopping time, a photograph. The mesmerising quality of this work, is attracting attention even for non believers. The quality of light and Rothko’s interest in creating light reflects his religious iconographic approach to his frames.
Image from https://www.wikiart.org/en/frank-bowling/who-s-afraid-of-barney-newman-1968
Bowling has expressed his frustration in an interview with Laura Barnett for the Guardian: “It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion. For a while I fell for it.”
The Rastafarian flag of green yellow and orange, signifying the displaced africans living in exile as a result of the slave trade. Unlike Rothko’s clearly defined frames, Bowling’s use of colours is blending into one, another around the edges and without affecting or altering the core of the three colours. Could the merging of colours also point to different ethnicities merging into one in the Caribbean and South America, as a result of colonial rule. Think of the children of Chinese, Indian, Syrian and Spanish immigrants on post-colonial lands, the ‘dougla’, the ‘koolie’, the ‘red skin spanish’.
Or did he attempt to define frayed around the edges, maybe from wear and tear?
The impact of slavery remains as unaddressed as it was in 1968 as it is today. Microaggressions are all apparent. The artist, a slave descendant, opposed the idea of representing Caribbean art.
Image from youtube https://www.youtube.com/watch?v=wUV-v3xI7Lw
Atsuho Tanaka’s electric dress, still lighting gallery spaces and discussions across the world, even after the artist’s death, in a timeless manner, originally the bulbs laid to cover her body, now exhibited without it.
In the West, a Christmas tree is something beautiful, pretty and a tacky representation of a happy time.
Tanaka was one of the more influential Gutai art movement artists, believed by many to deserve the leadership position within the rebellious post-war Japanese artist group, a but hindered from it due to her being a woman.
Tanaka’s work is symbolic to false light, untruth, prettiness by misrepresentation, a wonderful objectification of many beliefs changing and evolving in the years the work was created.
When the artist wore the artwork, around 200 light bulbs flickered every two and half minutes, like a pulsating body, inviting the viewer to view it a ‘living’ being without consideration of the being inside. Gutai translates as ‘concreteness’ born from a society that advocated for the loss of individualism.
Image from https://www.christystich.com/blog/2016/2/4/my-most-treasured-poem
Derek Walcott passed away less than two years ago, a Caribbean child of a slave, lived most of his life in Trinidad and St Lucia, and was awarded with the Nobel Prize in 1990’s.
Walcott’s poem is a reminder of being one with ourselves, salvaging ourselves with acts of faith ‘Give wine. Give Bread’ playacting Jesus proclamation of memory in the act of sharing love towards a progression towards oneself to a place where our reflection in the mirror doesn’t feel ugly or drained anymore, but celebratory.
Walcott’s exploration of European and African cultural adaptations within the Caribbean, and the multiculturality of the West Indies is reflected throughout his work. Walcott’s poem has a nostalgia about the mistake of trying to fit in other people’s shoes, and when ‘The time will come’ as in the time we will be ready or will be forced upon us to reflect in being at peace with oneself reminding us it is entirely achievable as ‘Sit. Feast on your life.’ is one of the few things in life left we have entire freedom to do on our own.
Images from #sammybaloji instagram page
Sammy Baloji is a Democratic Republic of Congo born photographer working internationally, with photographs represented in a wide range high profile african art fairs and collective exhibitions.
Born in a country known for the inherent political fragility, threat to human life, animal habitat and near extinction of species. His work is very much representing a colour code for how DRC is seen abroad and how it feels to Congolese people from within the country.
Baloji having participated in Venice Bienalle in an exhibition on Belgium’s colonial rule, he notes sharing and learning about a specific time period “To talk about our reality, and also to dream.”
In autumn 2018, I made an in-class presentation at the SOAS, University of London Faculty of Law & Social Sciences Department of Development Studies for the GLOBALISATION AND DEVELOPMENT module on the topic of the informalisation of Labour in Developing Countries.
Contrary to expectations, informal labour relations have not disappeared but have been reproduced and incorporated into globalised production circuits.
The presentation covered the main theories on the topic with a focus on the case of Sierra Leonian mining work.
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The Civil Society Leadership Awards (CSLA) provide fully-funded scholarships for master’s degree study to individuals who clearly demonstrate academic and professional excellence and a deep commitment to leading positive social change in their communities.
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All eligible applicants will be reviewed by an international selection committee. The proposed field of study should be logical for the goals expressed, and the application itself should be well-organized and complete. Compelling candidates will be interviewed by a selection committee comprised of university representatives, CSLA staff, and partner organization representatives, such as the German Academic Exchange Service (DAAD).
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Christmas in Germany, through the markets and shops, the streets decorated with pine trees, lights out letting the natural phenomena shed light as clouds, day and dusk allow.
Yet the most fascinating part in the journey is driving from place to place.
Unlike the English quintessential village feel, the countryside in Westfalia is a mix of wild growth areas and farmed fields, wind turbines and easyness, in the sense of a down to earth grounded kind.